http://oosi.sculpturecenter.org/items/browse?advanced%5B0%5D%5Belement_id%5D=139&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Cuyahoga&output=atom2018-08-14T16:28:56-05:00Omekahttp://oosi.sculpturecenter.org/items/show/1534
This is a 7-ton, 21-foot-high sculpture of a hand on the plaza just the east of the Museum of Contemporary Art Cleveland (MOCA.) Chicago artist Tony Tasset created the sculpture from a cast of his wife's hand for the 2018 FRONT International Cleveland Triennial art exhibition. The piece was co-commissioned by Case Western Reserve and will be a permanent installation.]]>2018-07-11T09:56:42-05:00

Dublin Core

Title

Judy's Hand Pavilion

Description

(Image by Lisa DeJong, The Plain Dealer)

This is a 7-ton, 21-foot-high sculpture of a hand on the plaza just the east of the Museum of Contemporary Art Cleveland (MOCA.) Chicago artist Tony Tasset created the sculpture from a cast of his wife's hand for the 2018 FRONT International Cleveland Triennial art exhibition. The piece was co-commissioned by Case Western Reserve and will be a permanent installation.

Location County

Location Site

Location Street

Dublin Core

Title

The World That is To Come (REMOVED)

Description

This sculpture was given to the Valley Forge High School as a gift from the class of 1965. It is believed that it was created by the art students of that class, but that information is currently unconfirmed. In those years, the courtyard where it was placed was open to the students before school, at lunch, and after school. It was made of a material that was predominately cement aggregate. Over the years it began to spall and fracture and in either the very late 80’s or early 90’s, it had deteriorated to the point that, as a safety issue, it was decided that it had to be removed except for the original pedestal. In 2015 at their 50th reunion, the class of 1965 raised money for a sundial to be placed on the original pedestal for display. --Information provided by Rick Meeks, President of the Valley Forge Alumni Association (class of '73.)

Date

1965

Sculpture Item Type Metadata

Location City

Location County

Installation Date

1965

]]>http://oosi.sculpturecenter.org/items/show/1530The goddess Lakshmi is believed to be the most beautiful in the Hindu pantheon. The goddess of wealth, fortune, and prosperty, the presence of her image is often related with established success or hope for future success. She is often depicted with a lotus flower, which is a symbol of purity and perseverance because its beautiful blooms are unstained by the muddy waters in which it tends to grow. Erected prominently off the exit of a major freeway, Maya alludes to Cleveland's past fortune to inspire hope for some sort of renaissance. Murphy's use of galvanized steel hearkens to the city's once-prosperous steel industry whose booming furnaces once roared where the neighborhood of Tremont now stands. In more ways than one, Cleveland today is akin to the lotus flower. Having risen from the muddy waters that were the decline of the steel industry and ensuing spikes in poverty and degredeation, the flower is now beginning to bloom once again, as Cleveland experiences a sort of rejuvenation. Murphy expertly makes full use of relationship between the location of the sculpture and the images he chose to incorporate.

The true impact of much of Murphy's work is only revealed from a certain angle. Pieces like his Stephanie Tubbs Jones in Cleveland are only recognizable as representative art pieces from straight on. This is true of "Maya" as well. Situated on a roundabout, drivers are not simply able to circumnavigate the sculpture-- it is an action that is both implied and necessary. ]]>2018-07-11T14:10:14-05:00

Dublin Core

Title

Maya

Description

A galvanized steel sculpture, chosen out of 10 submissions to stand on the Quigley circle roundabout. The sculpture depicts the hand of the Hindu Lakshmi rising out of a lotus flower.

The goddess Lakshmi is believed to be the most beautiful in the Hindu pantheon. The goddess of wealth, fortune, and prosperty, the presence of her image is often related with established success or hope for future success. She is often depicted with a lotus flower, which is a symbol of purity and perseverance because its beautiful blooms are unstained by the muddy waters in which it tends to grow. Erected prominently off the exit of a major freeway, Maya alludes to Cleveland's past fortune to inspire hope for some sort of renaissance. Murphy's use of galvanized steel hearkens to the city's once-prosperous steel industry whose booming furnaces once roared where the neighborhood of Tremont now stands. In more ways than one, Cleveland today is akin to the lotus flower. Having risen from the muddy waters that were the decline of the steel industry and ensuing spikes in poverty and degredeation, the flower is now beginning to bloom once again, as Cleveland experiences a sort of rejuvenation. Murphy expertly makes full use of relationship between the location of the sculpture and the images he chose to incorporate.

The true impact of much of Murphy's work is only revealed from a certain angle. Pieces like his Stephanie Tubbs Jones in Cleveland are only recognizable as representative art pieces from straight on. This is true of "Maya" as well. Situated on a roundabout, drivers are not simply able to circumnavigate the sculpture-- it is an action that is both implied and necessary.

Creator

Date

Contributor

Sculpture Item Type Metadata

Location City

Location County

Location Site

Quigley Circle

Location Street

W. 14th and Quigley

Installation Date

200

Creation Date

2007

]]>http://oosi.sculpturecenter.org/items/show/1525
The building, at the time of its construction, was lauded as "magnificent" and "rich in detail", adorned with caryatid columns and tall, arched windows. The eagles were originally perched on a low wall that ran along the edifice of the building, but in 1955 they were removed, as a result of the buildings demolition. The 2 eagles, after standing outside a private farm in Geauga Township, are now on sale as of January 23, 2018. Cleveland City Hall "is aware of them and longs for their majestic return to the area."]]>2018-03-23T08:37:51-05:00

Dublin Core

Title

The Eagles (Removed)

Description

In 1898, to the patriotic glee of 40,000, the city of Cleveland ceremoniously unveiled its new Chamber of Commerce Building. And there to greet the cheering masses and decorated soldiers were 4 granite eagles, masterfully carved by Joseph Carabelli. Carabelli was an Italian immigrant who settled in Little Italy and started the Lakeview Monumental Co. where he carved many of the magnificent headstones in Lakeview cemetery. His marble cutting and granite carving abilities were peerless, as is apparent when looking at the grand eagles. Their noble faces peer off to either side. Their features are strong but not heavy-- rather, they are valiant and graceful. Each eagle's strong brow gives it an air of vigilance and gravity, while their cascading feathers are a reflection of the grandeur they once protected: the Chamber of Commerce Building.

The building, at the time of its construction, was lauded as "magnificent" and "rich in detail", adorned with caryatid columns and tall, arched windows. The eagles were originally perched on a low wall that ran along the edifice of the building, but in 1955 they were removed, as a result of the buildings demolition. The 2 eagles, after standing outside a private farm in Geauga Township, are now on sale as of January 23, 2018. Cleveland City Hall "is aware of them and longs for their majestic return to the area."

Creator

Date

Sculpture Item Type Metadata

Location City

Location County

Location Site

At the site of what is now Key Tower, outside the Chamber of Commerce Building

Location Street

Rockwell Ave.

Creation Date

1898

]]>http://oosi.sculpturecenter.org/items/show/1524
The Great Depression and post-war years took a devastating toll on the Hough neighborhood though. Many of the original residents moved out into the suburbs, while many African Americans from the South settled down in Hough as a result of the Second Great Migration.

The 60's saw absentee landlords, a crumbled tax base, and rampant racism fanning the already roaring flames of racial tensions between blacks and whites in the neighborhood. But it wasn't until the disgruntled owner of Seventy Niners' Cafe at 79th and Hough hung a sign reading "No Water for N*****s" on his door as a response to a black customer asking for water that a long overdue riot flared up.

Over the course of about a week, millions of dollars of damage were done to the neighborhood. Shops and homes were looted and destroyed. Injuries and deaths dotted the streets, ensconced in flame.

At the time of this monument's erection, Hough was the second poorest district in the city. It never truly recovered from the riot, and that is what this obelisk commemorates. Fannie Lewis, famed councilwoman who represented the Hough for many years, oversaw most of the design. The monument is meant to honor the perseverance and life of the Hough neighborhood: to celebrate the history and culture of the area beyond just the Riots. The monument stands at the same intersection where the Riots are popularly believed to have begun.

]]>2018-01-10T10:14:29-06:00

Dublin Core

Title

The Lexington Village Memorial

Description

The Hough neighborhood in Cleveland is one of the most historic districts in the city. Beginning as a prosperous, wealthy neighborhood at the end of the nineteenth century, Hough was home to some of the most prominent citizens of the most prominent city in the US at that time: Cleveland. Hough was the original home of the Cleveland Indians (or the Cleveland Spiders, as they were known then) and League Park in Hough is where the first and only unassisted triple play in the World Series took place.

The Great Depression and post-war years took a devastating toll on the Hough neighborhood though. Many of the original residents moved out into the suburbs, while many African Americans from the South settled down in Hough as a result of the Second Great Migration.

The 60's saw absentee landlords, a crumbled tax base, and rampant racism fanning the already roaring flames of racial tensions between blacks and whites in the neighborhood. But it wasn't until the disgruntled owner of Seventy Niners' Cafe at 79th and Hough hung a sign reading "No Water for N*****s" on his door as a response to a black customer asking for water that a long overdue riot flared up.

Over the course of about a week, millions of dollars of damage were done to the neighborhood. Shops and homes were looted and destroyed. Injuries and deaths dotted the streets, ensconced in flame.

At the time of this monument's erection, Hough was the second poorest district in the city. It never truly recovered from the riot, and that is what this obelisk commemorates. Fannie Lewis, famed councilwoman who represented the Hough for many years, oversaw most of the design. The monument is meant to honor the perseverance and life of the Hough neighborhood: to celebrate the history and culture of the area beyond just the Riots. The monument stands at the same intersection where the Riots are popularly believed to have begun.

Creator

Date

Sculpture Item Type Metadata

Location City

Location County

Location Street

East 79th and Hough Ave

]]>http://oosi.sculpturecenter.org/items/show/1501
The marble fountain, which cost $1500 to install onto it's $500 base inscribed with the name W. Morse, who oversaw the installation, depicts a bold and brave centaur who has been fatefully lured to a siren's rock by her sweet song. Unfortunately for him, as soon as he climbed atop the rock he was entwined by a wretched serpent. With one hand, he grasps the serpent's neck and squeezes, forcing a jet of mist 50 feet into the air from the it's mouth. From the water on the centaur's proper right, a merman sounds a conch shell in order to draw aid for the centaur, and who should respond but a saurian: a dolphin creature with the ability to kill a sea serpent in one bite!

The frantic drama preserved in the sculpture was a definite juxtaposition to the peaceable boating and picnicking that went on around it. The sculpture is reportedly a duplicate of one that Jeptha Wade saw over the course of his travels in Austria. By 1926, the statue had fallen into disrepair and disuse. The growing costs of upkeep and the costs associated with the new art museum precluded any attempts at restoration, and the statue was taken down.]]>2017-12-08T09:15:35-06:00

Dublin Core

Title

Centaur Fountain in Wade Park Lagoon (removed)

Description

By the end of the 19th c., Wade Park, owned then by the wealthy Jeptha Wade, was a hub of culture and community. The vast gardens and zoo exhibits that dotted the park brought visitors far and wide. Picnic areas, walking trails, a restaurant, the zoo, and a boathouse on the lovely lagoon kept the park abuzz at all times of the year. Visitors would canoe on the lagoon in the summer and skate in the winter; a shockingly peaceful contrast in activity to the violent fountain at the center of the lagoon.

The marble fountain, which cost $1500 to install onto it's $500 base inscribed with the name W. Morse, who oversaw the installation, depicts a bold and brave centaur who has been fatefully lured to a siren's rock by her sweet song. Unfortunately for him, as soon as he climbed atop the rock he was entwined by a wretched serpent. With one hand, he grasps the serpent's neck and squeezes, forcing a jet of mist 50 feet into the air from the it's mouth. From the water on the centaur's proper right, a merman sounds a conch shell in order to draw aid for the centaur, and who should respond but a saurian: a dolphin creature with the ability to kill a sea serpent in one bite!

The frantic drama preserved in the sculpture was a definite juxtaposition to the peaceable boating and picnicking that went on around it. The sculpture is reportedly a duplicate of one that Jeptha Wade saw over the course of his travels in Austria. By 1926, the statue had fallen into disrepair and disuse. The growing costs of upkeep and the costs associated with the new art museum precluded any attempts at restoration, and the statue was taken down.

Description

Creator

Date

Sculpture Item Type Metadata

Location City

Location County

]]>http://oosi.sculpturecenter.org/items/show/1498
The sculpture is largely defined by the sphere, in reference to the planets in our solar system, and alien life touching down. A fitting subject considering Northeast Ohio was the most active site in the world for UFO sightings through the 50's and 60's As noted in the plaque, this piece also serves the function of a time capsule dated to 9/23/2011, to be opened on 9/23/2050. ]]>2018-02-13T09:59:48-06:00

Dublin Core

Title

They Have Landed

Description

A 3000 pound, 8 foot diameter plywood sculpture installed at Abby and Carnegie, in front of the RTA transit center.

The sculpture is largely defined by the sphere, in reference to the planets in our solar system, and alien life touching down. A fitting subject considering Northeast Ohio was the most active site in the world for UFO sightings through the 50's and 60's As noted in the plaque, this piece also serves the function of a time capsule dated to 9/23/2011, to be opened on 9/23/2050.

Creator

Date

Sculpture Item Type Metadata

Location City

Location County

Dublin Core

Title

Viscaya Cannon

Description

A rifled cannon from the Spanish cruise Viscaya, which was run down by US warships during the Spanish American War. This is a trophy of that encounter, installed on Public Square in downtown Cleveland.

Source

https://case.edu/ech/articles/v/viscaya-cannon/

Sculpture Item Type Metadata

Location City

Location County

Dublin Core

Title

USS Maine Relic

Description

Portion of the mast and porthole cover from the USS Maine, blown up in Havana Harbor in 1898 and a leading cause of the Spanish American War. The relic was given to the City of Cleveland in 1912 and installed in Washington Park, Newburg, in 1948.

Description

Sculpture Item Type Metadata

Location City

Location County

Dublin Core

Title

The Great Picnic

Description

The Great Picnic was commissioned for the Putnam Collection as a picnic table that seated 100. Picnicking has been fundamental to the enrichment of American social fabric. And for decades the picnic table has been paramount to this en plein air interaction. Today the simple and iconic wood structure of picnic tables highlights a convergence of people and ideas. Each bench and table surface is made from a number of certified reclaimed woods ranging from Heart Pine and Knotty Douglas Fir to African Mahogany and White Oak. The variety of wood species and colored stains is intended to directly reflect this notion of a confluence of identities and ideas that a picnic table highlights.

Creator

Date

Sculpture Item Type Metadata

Location City

Location County

Installation Date

2005

Creation Date

2005

]]>http://oosi.sculpturecenter.org/items/show/1432
Stephanie Tubbs Jones was the first African American woman to be elected to Congress in Ohio. She was well loved in her district which encompassed most of the Eastern suburbs of Cuyahoga County. ]]>2017-07-11T13:46:27-05:00

Dublin Core

Title

Stephanie Tubbs-Jones

Description

A lifesize portrait of Stephanie Tubbs-Jones seated on a bench by the Western Reserve Historical Society. Her body is poised for conversation, with her hand on the seat beside her, as if she is inviting passers by to sit beside her and chat. A broad grin dominates her face, highlighting her amiability and her love for her constituents.

Stephanie Tubbs Jones was the first African American woman to be elected to Congress in Ohio. She was well loved in her district which encompassed most of the Eastern suburbs of Cuyahoga County.

Creator

Date

Sculpture Item Type Metadata

Location City

Location County

]]>http://oosi.sculpturecenter.org/items/show/1431
Understanding the project’s intentions, White felt that her artwork should relate both to the building’s Modernist design and to the site’s environmental conditions, while also providing a point of destination in the vast plaza. The addition of many trees and other plantings to the plaza design prompted White to consider the history of garden pavilions and decorative trellises. She designed an eight-foot-tall, folded metal screen that is a patchwork of patterns based largely on the structures of dragonfly wings, which she chose for their elegant formal complexity and as a reference to the windy site. These dragonfly-wing patterns, which dominate one end of the charmingly titled Bugscreen, create an intricate maze of shapes that gives way to a quilt-like motif of boxes at the opposite end. These boxes hold patterns of pure abstraction as well as spider webs—a familiar motif in white’s work. Painted bright red, Bugscreen engages in a visual dialogue with Free stamp (1991), an enormous red sculpture by Claes Oldenburg and Coosje van Bruggen that is located directly across Lakeside Avenue from the federal plaza. Set within a newly landscaped plaza and designed to encourage greater use of the site, Bugscreen helps to revitalize this important civic space.

Bug Screen was commissioned as part of the Federal Govenment's Art in Architecture program. The Art in Architecture Program commissions the nation's leading artists to create permanent, site-specific works of art for newly built and substantially renovated federal properties across the country. These artworks enhance the civic nature of federal architecture and showcase the vibrancy of American visual arts. GSA reserves one-half of one percent of the estimated construction cost of each new federal building to commission project artists. ]]>2017-07-11T13:47:29-05:00

Dublin Core

Title

Bugscreen

Description

Known for sophisticated yet accessible work that blends art and design, Pae White was commissioned to create a permanent, site-specific artwork as part of the plaza renovation project for the Anthony J. Celebrezze Federal Building in Cleveland. This thirty-two-story skyscraper, built in 1967, projects a machine-like efficiency through its repeating composition of rectilinear forms and stainless-steel façade. While the architecture is austere, the site has always carried the promise of being a significant destination for public gatherings in downtown Cleveland. It features two plazas and is adjacent to City Hall, the Convention Center, and many businesses; however, the strong and persistent wind that blows through the site from Lake Erie precludes its use during much of the year. As part of a multistage renovation project, both plazas were redesigned to create a more hospitable environment for federal employees, visitors, and the people of Cleveland.

Understanding the project’s intentions, White felt that her artwork should relate both to the building’s Modernist design and to the site’s environmental conditions, while also providing a point of destination in the vast plaza. The addition of many trees and other plantings to the plaza design prompted White to consider the history of garden pavilions and decorative trellises. She designed an eight-foot-tall, folded metal screen that is a patchwork of patterns based largely on the structures of dragonfly wings, which she chose for their elegant formal complexity and as a reference to the windy site. These dragonfly-wing patterns, which dominate one end of the charmingly titled Bugscreen, create an intricate maze of shapes that gives way to a quilt-like motif of boxes at the opposite end. These boxes hold patterns of pure abstraction as well as spider webs—a familiar motif in white’s work. Painted bright red, Bugscreen engages in a visual dialogue with Free stamp (1991), an enormous red sculpture by Claes Oldenburg and Coosje van Bruggen that is located directly across Lakeside Avenue from the federal plaza. Set within a newly landscaped plaza and designed to encourage greater use of the site, Bugscreen helps to revitalize this important civic space.

Bug Screen was commissioned as part of the Federal Govenment's Art in Architecture program. The Art in Architecture Program commissions the nation's leading artists to create permanent, site-specific works of art for newly built and substantially renovated federal properties across the country. These artworks enhance the civic nature of federal architecture and showcase the vibrancy of American visual arts. GSA reserves one-half of one percent of the estimated construction cost of each new federal building to commission project artists.

Location County

Location Site

Location Street

Dublin Core

Title

Lady Justice

Description

A mild steel abstraction of Lady Justice. Her metaphorical attributes have become physical extensions of her body. Her blindfold curls through the front of her face; her sword, bearing the year 2017, twists and curls into her leg; her balance (with one cup full of water, and the other with mulch) swings back and forth precariously, attached at her wrist. The rust represents the malleable nature of morality over time. It was traditionally blacksmith forged. Her limbs and body are formed out of twisting rods and "rocks" made of the same material as all her tools.

Creator

Date

Sculpture Item Type Metadata

Location City

Location County

Installation Date

2017

Creation Date

2017

]]>http://oosi.sculpturecenter.org/items/show/1413
In creating this statue, Deming was tempted to include dimes on the frame of the hurdle because of an anecdote Dillard told him. Dillard said he used to practice the event with dimes flat on top of the hurdle, and his goal was to knock the dimes off without knocking the hurdle over. He wanted to develop the most efficient jump possible, and judging by his 2 hurdling gold medals, he succeeded. But because of the statue's location on a college campus, surrounded by mischievous students in search of money, Deming elected not to include this small detail. However, a detail he did include (albeit coincidentally) is that the bronze statue weighs exactly as much as Harrison Dillard did while he was racing in 1949: 152 lbs.]]>2017-07-07T09:11:15-05:00

Dublin Core

Title

Harrison Dillard

Description

A lifesize statue of 4-time Olympic gold medalist track athlete Harrison Dillard. Dillard is a Cleveland native and BW alumnus. Dillard is show at the peak of his jump over a hurdle. His trailing leg is high enough in the air to clear the hurdle, which, according to his daughter, is a part of the sport that Dillard was very particular about when he coached her as a little girl. In addition to being a decorated athlete, he also served with Buffalo Soldiers during the second World War. After retiring from sports, Dillard continued to work in Cleveland for the Indians as a PR manager, and for the Public School District.

In creating this statue, Deming was tempted to include dimes on the frame of the hurdle because of an anecdote Dillard told him. Dillard said he used to practice the event with dimes flat on top of the hurdle, and his goal was to knock the dimes off without knocking the hurdle over. He wanted to develop the most efficient jump possible, and judging by his 2 hurdling gold medals, he succeeded. But because of the statue's location on a college campus, surrounded by mischievous students in search of money, Deming elected not to include this small detail. However, a detail he did include (albeit coincidentally) is that the bronze statue weighs exactly as much as Harrison Dillard did while he was racing in 1949: 152 lbs.

Creator

Date

Sculpture Item Type Metadata

Location City

Location County

Installation Date

Dublin Core

Title

Sky Blossoms

Description

A series of pastel colored metal strips, suspended off steel poles that rise 15 feet out of the ground. The solid strips face all different directions and tend to have tapered ends as if they're flying through the poles. Levy has chosen to use muted pastels in pink and blue to color the strips, lending the piece a light, airy, cool feeling. This piece was installed to celebrate the 100 year anniversary of the Shaker Lakes Garden Club. It calls to mind the natural elements of the garden: Water, Wind, and Earth, combining them to create a harmonious, peaceful space along the busy streets of Cleveland. The garden is full of native plants and the path that the poles weaves references the meandering Cuyahoga River.

Creator

Sculpture Item Type Metadata

Location City

Location County

Location Street

Lakeside Avenue and W. Mall Dr.

Creation Date

2016

]]>http://oosi.sculpturecenter.org/items/show/1398
Fast forward 20 years and Deming is establishing a new, iconic sculptural series styled after this interest: the tripod. Deming notes that he always felt that tripods looked like alien ships touching down. The dense, heavy looking forms that are suspended by three minimal points of contact always look unnatural and gravity-defying. Paired with a palette of bright primary colors, the Ocotber Tripod (named so because it was made in October) pops with a classic sci-fi vibe.

October Tripod has been repainted a number of times, but the bright colors have always been a staple. When it was first sculpted, the Tripod was supposed to go to the Texas State Sculpture Symposium in San Antonio so Deming wanted his piece to fit into the bright, festive vibes in San Antonio. ]]>2017-07-08T08:33:51-05:00

Dublin Core

Title

October Tripod

Description

Through the 50's and the 60's, Northeast Ohio was the site of more UFO sightings than anywhere in the world. Deming's father, a North east Ohio Native and avid sci-fi fan, was fascinated by these claims and would dutifully bring home stacks of books researching the extraterrestrial. He would share his research with Deming, who soon developed his own interest in sci-fi.

Fast forward 20 years and Deming is establishing a new, iconic sculptural series styled after this interest: the tripod. Deming notes that he always felt that tripods looked like alien ships touching down. The dense, heavy looking forms that are suspended by three minimal points of contact always look unnatural and gravity-defying. Paired with a palette of bright primary colors, the Ocotber Tripod (named so because it was made in October) pops with a classic sci-fi vibe.

October Tripod has been repainted a number of times, but the bright colors have always been a staple. When it was first sculpted, the Tripod was supposed to go to the Texas State Sculpture Symposium in San Antonio so Deming wanted his piece to fit into the bright, festive vibes in San Antonio.

Creator

Date

Sculpture Item Type Metadata

Location City

Location County

Location Site

David E. Davis Sculpture Garden

Location Street

Martin Luther King Jr. Drive

Creation Date

1984

]]>http://oosi.sculpturecenter.org/items/show/1397
Grucza has stated that he is interested in capturing and creating wonder with his work, using fun shapes, unconventional lines, and industrial material in unique ways. He believes that fun and humor in art, though light, can still draw something profound out of every viewer.]]>2017-07-06T11:12:14-05:00

Dublin Core

Title

BOING!

Description

Taking a shape like a children's pop-up book, CIA graduate Michael Grucza's humor and interest in children's drawings shines through magnificently. The red, white, and black BOING! stands nearly 6 feet tall, with two cuts out of each "page" that coil into pressed spirals. The viewer can squeeze around and through the holes the spirals leave. The three solid colors on different sides of the sculpture leave the viewer with a completely different image depending on the angle from which they view the piece. The steel construction pressed into a tight spring fills the sculpture with an energy that is ready to burst.

Grucza has stated that he is interested in capturing and creating wonder with his work, using fun shapes, unconventional lines, and industrial material in unique ways. He believes that fun and humor in art, though light, can still draw something profound out of every viewer.

Location City

Location County

Location Site

Location Street

Creation Date

Dublin Core

Title

Cleveland Botanical Garden Gate

Description

A large-scale exterior gate commissioned for the Cleveland Botanical Garden. The form is comprised of elements representing native botanical elements found within the gardens such as basswood tree leaves and seedpods, Ohio buckeye leaves flowers and seedpods, sugar maple and poplar tree elements.

Location City

Location County

Location Site

Location Street

Creation Date

Dublin Core

Title

Big Red Chair.

Description

Huge red Adirondack Chair in the Wade Oval lawn, near the Botanical Gardens. Owned by University Circle, Inc. It is displayed intermittently for events at Wade Park and always makes for a great photo-op.

Sculpture Item Type Metadata

Location City

Location County

]]>http://oosi.sculpturecenter.org/items/show/1384
Virginia Burt is an accomplished landscape artist who specializes in therapeutic spaces. Her work at the Seidman Cancer Center is not only beautiful aesthetically, but it is beautiful in its mission to heal the sick through art.]]>2017-06-28T13:34:03-05:00

Dublin Core

Title

Schneider Healing Garden

Description

A therapeutic space used by the Seidman Cancer Center at UH to help relieve patients of stress. After passing through the twisting. fantastical gates that lead into the space, one finds that the garden is centered around a large, intricate labyrinth, inlaid in the ground. Surrounding that, around the perimeter of the circular garden are a series of zen sculptures. Most of them represent one of the elements: Earth, Water, Wind, or Fire. Almost all of them are interactive, like the bench, hastily sculpted from a full rock. Others are kinetic, like the bright pink glass pinwheel about 25 feet in the air. Yet another piece is a metal bell that gently sounds with a mellow ring when gonged. The clever design leads the viewer peacefully around the space to experience everything there is to offer.

Virginia Burt is an accomplished landscape artist who specializes in therapeutic spaces. Her work at the Seidman Cancer Center is not only beautiful aesthetically, but it is beautiful in its mission to heal the sick through art.

Sculpture Item Type Metadata

Location City

Location County

Dublin Core

Title

Transfer

Description

A curved stainless steel form. The outer edge of the curve has three sharp, wavy ridges. By leaving a gap between the two nearly-touching ends of the sculpture, McConnell creates an anticipatory, anxious energy. The viewer wishes to close off the piece and be left with a perfect teardrop shape. Instead McConnell leaves a painfully small space that is filled with that anxious energy from the viewer. That small gap tingles with the viewer's need for a perfect, continuous sculpture. Playing on natural human tendency proved to be an excellent way for McConnell to incorporate the viewer into his sculpture without a physical demand.